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Movie · 2028

Movie · 2027

This story originally ran in the newsletter Sketch to Screen. Subscribe here to receive it in your inbox every Thursday. After years where they essentially felt like a foolproof method of printing money, lately it’s appeared that the Disney live-action remake machine has rusted over. The incredibly unnecessary redo of “Moana,” released earlier this month, bombed at the box office, grossing only $43 million in its debut weekend. Its failure — which ugly trailers and a mere ten-year gap between source material and adaptation probably helped contribute to — follows a mixed 2025 for these remakes, where “Lilo & Stitch” hit it big but a discourse-cursed “Snow White” flopped hard. Naturally, Disney has responded to the failures of its live-action branch by…cutting hundreds of jobs from Pixar (coming off two successful films in “Toy Story 5” and “Hoppers”) in their latest round of corporate streamlining. There are a lot of reasons why Disney

Paramount Skydance has reached an agreement with a coalition of state attorneys general to postpone the Warner Bros. Discovery merger until after an antitrust trial. The company entered a joint stipulation in the federal case on Friday afternoon agreeing not to close the $111 billion transaction until five days after a trial is held or June 1, 2027, whichever is earlier. No trial date has been set. A coalition of 12 states, led by California, obtained a temporary restraining order earlier this week that blocks the merger from closing for 28 days, pending the outcome of motion for a preliminary injunction. The states allege that the deal will reduce competition in the cable and theatrical markets, and should be blocked. Paramount had sought a three-day hearing on the injunction motion in late August, but the states resisted that idea, saying they would need more time to take discovery and prepare for a full trial on the merits.

The best movies often come from the simplest of premises. So the fact that “72 Hours” is about a middle-aged advertising executive who faces a professional crossroads after his boss decides to reconsider his upcoming promotion to chief creative officer, only to find himself accidentally added to a group chat with four frat bros half his age before offering to pay for their upcoming bachelor party trip to Miami in exchange for letting him (a total stranger) accompany them for market research on young people should tell you something about its quality. If that sounds convoluted in prose, try watching it as a Netflix movie that dutifully restates its premise every few minutes for multi-screen viewers. Tim Story’s new comedy jumps through a truly absurd amount of hoops in order to set up the meat of an otherwise simple movie about five guys who take a 72-hour bachelor trip

Chuck Russell, who helped launch several notable careers as the director of genre films including 1994’s “The Mask” as well as “A Nightmare on Elm Street 3: Dream Warriors,” died Wednesday in the San Diego area. He was 74. His death was confirmed by his attorney. The local fire department had responded to his house for the report of an unconscious man, according to TMZ. Russell started out writing screenplays and working as a production manager and assistant director on independent films. He met Frank Darabont while working as an executive producer on “Hell Night,” and went on to collaborate with him. He wrote the script for Dennis Quaid-starrer “Dreamscape,” directed by Joseph Ruben. Russell then made his directing debut on “A Nightmare on Elm Street 3,” which helped revitalize the franchise and grossed more than the first two installments as well as launching Patricia Arquette’s career. He went

Christopher Nolan has landed another IMAX-sized hit with “The Odyssey,” his new effects-driven twist on the ancient epic, starring Matt Damon, Anne Hathaway, and many of the other highest earners in Hollywood. But the “Oppenheimer” director isn’t the first to attempt to adapt the Homeric poem about Odysseus’ meandering journey home from the Trojan War. From Mario Camerini’s 1954 costume drama “Ulysses” to the Coen brothers’ zany 2000 satire “O Brother, Where Art Thou?,” it seems that just about every decade or two there’s an ambitious adaptation of the classic tale. And that was certainly true in the 1990s, which saw the release of Andrei Konchalovsky’s two-part TV version starring Armand Assante (“American Gangster”), Greta Scacchi (“Presumed Innocent”), and a supporting cast of some of the day’s biggest stars. The “Runaway Train” and “Tango & Cash” director’s wonderfully weird miniseries, also titled “The Odyssey,” aired on

A much easier movie to root for than it is to enjoy, Potsy Ponciroli’s striking but silly “Motor City” strips grindhouse revenge thrillers down to their studs with a dialogue-free wad of pulp fiction in which big muscles, broad tropes, and a badly implemented soundtrack of overused bangers do all of the talking. Panciroli is a well-meaning throwback artist whose debut feature — the 2021 Tim Blake Nelson western “Old Henry” — was inexplicably atop the Netflix charts last week. Though he takes obvious pleasure in distilling another genre to its most basic essence, the purity of his intentions is muddled by the unrefined clumsiness of his filmmaking. By a setting so blandly digital that a movie called “Motor City” needs a “1977 Detroit” title card to let us know where it takes place. By “American Hustle”-worthy costumes that make the “1977” part comedically redundant. By a plot so broad it feels like